Article name Dolls on the Square: The Captain’s Daughter by A. S. Pushkin and E. Mihailova’s Cartoon Animation
Authors Zvereva T.V. Doctor of Philology, Professor,
Bibliographic description Zvereva T. V. Dolls on the Square: The Captain’s Daughter by A. S. Pushkin and E. Mihailova’s Cartoon Animation // Humanitarian Vector. 2019. Vol. 14, No. 5. PP. 129–135. DOI: 10.21209/1996-7853-2019-14-5-129-135.
UDK 821.161.1 (045)
DOI 10.21209/1996-7853-2019-14-5-129-135
Article type
Annotation The 2005 screen version of the novel The Captain’s Daughter by A. Pushkin is studied in the article within the framework of intermedial approach. The animated film by Yekaterina Mikhailova is not only an illustration of the well-known plot but its interpretation as well. Due to the puppet esthetics, the film-makers elicited some implicit senses from A. Pushkin’s novel. Comparing with the text, the film actualizes the space of the square where the main events take place and become the subject of artistic vision in the animated film. The chronotope of the square is noted to correlate with the subject of history in A. Pushkin’s creative activity. History comes true on the square where the events take place as the consequences of the rulers’ tragic mistakes. The square in the animated film is also connected with the folk farcical theatre. If the connection of the main character with the fun-fair character of Petrushka is faintly outlined in the novel, it is actualized in the film, a naive atmosphere of the folk theatre is reproduced in detail, and an original puppet guise is given back to this Pushkin’s character. The plot of the film tends to a fairytale plot about a tried soldier’s meeting with Death. The image of Death is personified and given its own role which affixes the screen version with a metaphysical sense. The film is noted to have clear allusions to A Feast in Time of Plague by A. Pushkin: Death triumphs and a dancing couple against the background of the fire-ravaged ruins indicates the dance macabre genre. Christian axiology (‘Lives of Peter and Fevronia’) becomes significant for the film-makers. Thus, three sense-bearing fields – farcical, fairytale and hagiographic ones – are closely interwoven in The Captain’s Daughter by Yekaterina Mikhailova.
Key words A. S. Pushkin, screen version, myth, motive of the square, buffoonery, doll, Russian history
Article information
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